In Manchester, no special effects generators were available, so two live feed monitors were placed side by side in the front window that was again screened off from the rest of the gallery. One monitor faced me as I sat on a 45-degree angle away from the window, as in the London installation, displaying the passerby's image. Another monitor faced out to them displaying an image of me. Inside the gallery, there were two closed circuit monitors on plinths placed side by side, at the same height as my self-portraits that were on exhibition in the gallery. The monitors framed the people in the front window and myself as live portraits, becoming part of the portrait show. At one point, someone asked me if I'd mind if they sat where I was. I was interested in the dynamics of the transition from artist to public control of my work, and letting the piece Passersby could see the person the window sitting at a 45-degree angle on a closed-circuit monitor facing the street. A closed-circuit monitor faced the person in the window. A videophone facsimile facilitated communication, if desired. The front window was screened- off from the interior of the gallery. One saw the person in the window and the person on the street via closed circuit monitors of each and was able to listen to the conversation, and could decide whether to go out and speak or become the person in the window.